![]() In all, the art department had 12 main shades of pink, and over 100 different additional shades. “I said, ‘Why don’t we do that?’ So, we built an empty stage and painted it pink and blue.” The designers reveal Gerwig was able to tap into her love for musicals during the dance number “I’m Just Ken.” Greenwood suggested during that long dream sequence they play into “Grease” and how during “Greased Lightning” the T-Birds led by John Travolta transform out of a garage and into a white space. “The cars didn’t have engines, and not all the houses had stairs, so we were taking away so much stuff that you normally hide behind.” So, we had to consider the color and every small thing because nothing was hidden,” explains Spencer. You had to be aware of the action that was taking place there and beyond. “Everything you saw, you saw into another house. The biggest challenge for Greenwood and Spencer was that in building the houses that had few walls, every little detail needed to be taken into consideration. With Ken’s books, we had ‘Men Who Love Mink’ and ‘Why Men Rule the World,’ laughs Spencer. “We had ‘Barbie Karenina,’ ‘Barbie in the Willows’ and ‘Moby Barbie. That was one of the many puns and nods to films they could put into their designs.Ī humorous nod Spencer enjoyed was renaming all of the books in the film. With Barbieland, the cul-de-sac was built so the cast and crew could walk along “The Wizard of Oz” inspired pink brick road. Although Weird Barbie’s house is kooky mid-century modern in contrast to the “Psycho” house’s Victorian style, the Alfred Hitchcock classic provided inspiration from the skewed stairs leading up to the door. It was also one of the last set builds Greenwood and Spencer worked on and “that was one of the last things we shot,” says Greenwood. ![]() Weird Barbie’s (Kate McKinnon) house is a favorite of the production designer. Greenwood says, in the end, the house measured “50 foot high and 800 foot long” with ceilings added in to enhance the toyness of the world. ![]() In the house, Robbie would appear larger than in a real-life situation.Īs with the majority of the movie, everything was built on soundstages with 360-degree sets which allowed Gerwig and cinematographer Rodrigo Prieto to fully capture the environment. “When Margot is in the house, she could touch the roof and she’s too big for the car, and we set certain rules around that” and built their interpretation of that to bring Barbie’s Dreamhouse to life. So we reduced everything by 23%,” says Greenwood. In studying the vintage houses, they realized the doll inside the house was bigger and that “the scale was off-kilter. ![]()
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